Our Own Story

THE WORDS INSCRIBED on the Statue of Liberty where it stands on Bedloe's Island in New York harbor are familiar to all of us: 

Give me your tired, your poor,  

Your huddled masses yearning to be free,  

The wretched refuse of your teeming shore.  

Send these, the homeless, tempest-tossed, to me;  

I lift my torch beside the golden door.  

It is not great poetry, perhaps, and many a cynical word could be spoken about how the golden door that the goddess of liberty lights with her torch turned out for many to be the door to a wretchedness greater than any they had left behind on the teeming shores of their homelands. But nevertheless I think the old words have power in them still, if we let them, to move us, to touch us close to where we live. And the reason they have such power, I believe, is that one way or another they are words about us. Whether we're rich or poor, whether our forebears came to this country on the Mayflower or a New England slave ship or a nineteenth-century clipper or in a twentieth-century jet, those huddled masses are part of who all of us are, both as individuals and as a people. They are our fathers and mothers. They are our common past. Yet it goes farther and deeper than that. They are our past, and yet they are also ourselves. In countless ways, both hidden and not so hidden, it is you and I who are the homeless and tempest-tossed, waiting on our own Ellis Islands for the great promise to be kept of a new world, a new life, which we haven't yet found. We are the ones who yearn to breathe free. We stand not merely like them but in a sense with them beside the golden door. To read the story of our immigrant forebears as it is summarized on the base of the old statue is to read our own story, and maybe it is only when we see that it is our own story that we can really understand either it or ourselves.  

-Originally published in A Room Called Remember

No Miracle Happens

IN DOSTOEVSKI'S NOVEL The Brothers Karamazov there is an extraordinary scene where the old monk Father Zossima dies. They lay him out in his coffin in the chapel, and all of the monks wait around to see a miracle—for the body to give off the fragrance of a rose, maybe, or his dead face to flicker with a holy light. But no miracle happens, and not only does no miracle happen, but as time goes by something else happens instead. After a while the body shows signs of decomposition, and gradually—though at first the monks try not to notice it—the chapel is filled with the stink of death. No miracle happens, but decay and death happen, the stench of dust returning to dust; and the one who loved the old man most—Alyosha, the youngest of the brothers—stands ready to give the whole thing up as a bad joke, to give up all hope of miracle, to give up his life, to give up if not God himself then the dusty world that hides God from our sight. Then he has this dream. 

He is keeping vigil at the old man's coffin while one of the monks reads the story of the Wedding at Cana over it, and when he falls asleep, the dream comes. It is a dream about Cana. There are the guests, there are the young couple sitting, the wise governor of the feast, and suddenly there is old Zossima too—a little thin old man with tiny wrinkles on his face, and of all the things he could be doing, what he is doing in that dream is laughing, laughing at that great feast like a child. And when Alyosha wakes up, he does something that he himself does not fully understand. He tears out of the chapel and rushes down into the monastery yard. He hears inside himself the words, "Water the earth with the tears of your joy and love those tears" and suddenly he gets down on all fours and kisses the earth with his lips; and when he gets up, he's no longer a teary wreck of a boy but a "champion," Dostoevski writes—some kind of crazy champion and hero.  

-Originally published in A Room Called Remember

Something Dimly Seen

I REMEMBER A spring or so ago walking with a friend through a stand of maple trees at sugaring time. The sap buckets were hung from the trees, and if you were quiet, you could hear the sap dripping into them: all through the woods, if you kept still, you could hear the hushed drip-dropping of the sap into a thousand buckets or more hung out in the early spring woods with the sun coming down in long shafts through the trees. The sap of a maple is like rainwater, very soft, and almost without taste except for the faintest tinge of sweetness to it, and when my friend said he'd never tried it, I offered to give him a taste. I had to unhook the bucket from the tap to hold it for him, and when he bent his head to drink from it, I tipped the bucket down to his lips, and just as he was about to take a sip, he looked up at me and said, " I have a feeling you ought to be saying some words." 

Well, my friend is no more or less religious than the next person, and we'd been chattering on about nothing in particular as we walked along until just at that moment as I tipped the bucket to his lips, he said what he said, and said it partly as a joke. He had a feeling I should be saying some words, he said, as I tipped the bucket to his lips so he could taste for the first time the taste of the lifeblood of a tree. And of course for a moment those unsaid words fell through the air of those woods like the shafts of sun, and it was no joke because the whole place became another place or became more deeply the place it truly was; and he and I became different, something happened for a second to the air around us and between us. It was not much and lasted only for a moment before it was gone. But it happened—this glimpse of something dimly seen, dimly heard, this sense of something deeply hidden. 

-Originally published in A Room Called Remember 

The Word

THE BIBLE is usually very universal and makes you want to see something—some image to imagine it by. "The light shines in the darkness," John says, and maybe you see an agonizing burst of light with the darkness folding back like petals, like hands. But the imagery of John is based rather on sound than on sight. It is a Word you hear breaking through the unimaginable silence—a creating word, a word that calls forth, a word that stirs life and is life because it is God's word, John says, and has God in it as your words have you in them, have in them your breath and spirit and tell of who you are. Light and dark, the visual, occur in space, but sound, this Word spoken, occurs in time and starts time going. "Let there be" the Word comes, and then there is, Creation is. Something is where before there was nothing and the morning stars sing together and all the Sons of God shout for joy because sequence has begun, time has begun, a story has begun. 

-Originally published in A Room Called Remember

The Final Secret

THE FINAL SECRET, I think, is this: that the words "You shall love the Lord your God" become in the end less a command than a promise. And the promise is that, yes, on the weary feet of faith and the fragile wings of hope, we will come to love him at last as from the first he has loved us—loved us even in the wilderness, especially in the wilderness, because he has been in the wilderness with us. He has been in the wilderness for us. He has been acquainted with our grief. And, loving him, we will come at last to love each other too so that, in the end, the name taped on every door will be the name of the one we love. 

"And these words which I command you this day shall be upon your heart, and you shall teach them diligently to your children, and you shall talk of them when you sit in your house, and when you walk by the way, and when you rise." 

And rise we shall, out of the wilderness, every last one of us, even as out of the wilderness Christ rose before us. That is the promise, and the greatest of all promises.  

-Originally published in A Room Called Remember